The Man Who Beat Mark Spitz

Great care & thought was put into the published music chosen for The Man Who Beat Mark Spitz - besides being a collection of familiar & not-so-familiar hits from 1953 to 1968, each song reflects the mood, energy, & theme of each scene, as well as the era these songs represent.
The titles are listed below with the artists who made these songs famous & include links so you may enjoy each one - whether hearing it for the first time, or bringing back memories of this unique period of American culture, we hope you enjoy listening as well as check back on the notes as we share with you the songs historical importance. 

The film will also contain a series of unique sounds especially designed for each scene, for example:


Begins on Page One and occurs several times throughout the script. This important sound is associated with the visual point-of-view (POV) "black line at the bottom of the pool" which every competitive swimmer more than relates to, seeing this guide many hours of a day:

This sound is currently being designed by David Bryant Perkins (who welcomes outside input from other swimmers who have lived this scene) and at the moment are layered blends of actual SPLASHING recordings, submarine PINGS, VOICES and the wonderful flanged grinding bass sounds from the Korg Poly Six:

Other sounds & songs by the author (including some designed tones using the Korg seen above) can be heard at:

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Below are the published songs currently seeking permission to use.

Click on the image or title to hear the song:

Songs in RED denote personal story to songs attributes

Previously recorded by Elvis Presley, "Suspicion" was released on the Crusader record label  made it to no. 3 in the U.S. and no. 31 in theUK Singles Chart.  Having the distinction of being sixth on the Billboard Hot 100 on April 4, 1964, when the Beatles held down the top five spots. The following week, "Suspicion" peaked at no. 3, with the Beatles holding three of the top five spots. Stafford's recording sold over one million copies and was awarded a gold disc by the RIAA.

This version of the song was one of the first pop tunes of this era to use a synthesizer.

"Wild Weekend" was written by Tom Shannon and Phil Todaro and performed as a demo with vocals and music by the Russ Hallet trio for Shannon's weekend radio show, which needed a theme song.

Considered to be one of the root songs of the soon-to-arrive Surfer Sound.

Originally recorded by Wayne Cochrane  in 1961 (Athens, Georgia for the Gala Label) & in 1963 (on the University of Georgia campus in Macon, Georgia for King Records) the song failed to do well in the charts.  

Promoter Sonley Roush brought the song to a band he often booked around San Angelo, Texas & singer J. Frank Wilson's vocals were a key component that then shot the song up to #2 on the Billboard charts.

Considered one of the first psychedelic rock albums, Jeff Beck's use of feedback, manipulation of resonant points on the strings influenced Jimi Hendrix, Paul McCartney, Jimmy Page (a later Yardbird before he founded Led Zeppelin) and many others. 



Sorry, need the rights to Sgt. Pepper's even to play it here...will ask Sir Paul if we can use it in the film....who knows?  If he likes the story he might say OK...!


(Beatles, 1968)

Sorry, need the rights to Hey Jude even to play it here...will ask Sir Paul if we can use it in the film....who knows?  If he likes the story he might say OK...!

Wish us luck....!

Getting all of these songs would really make this film the next

American Graffiti